ifitbeyourwill Podcast
“ifitbeyourwill" Podcasts is on a mission to talk to amazing indie artists from around the world! Join us for cozy, conversational episodes where you'll hear from talented and charismatic singer-songwriters, bands from all walks of life talk about their musical journey. Let's celebrate being music lovers!
Season Four runs from September 2024 to December 2024
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ifitbeyourwill Podcast
ifitbeyourwill S04E15 • Nick Krgovich & Larissa Loyva of p:ano
What happens when two musicians reconnect after a 17-year break? Join us as we welcome Nick Krgovich and Larissa Loyva, the creative forces behind Vancouver's indie sensation p:ano, who share the evolution of their sound and unexpected reunion. Larissa opens up about their serendipitous meeting through her sister Jessica during high school, a connection that sparked a musical journey through an eclectic blend of instruments. Nick reflects on the importance of finding a true musical partner in a time before social media, when creating genuine connections required dedication and effort.
Discover how p:ano's early success seemed almost magical, with opportunities manifesting effortlessly, from recording their first tracks to forming a sound shaped by local talent. The duo recounts how their teenage naivety fueled ambitious musical visions, further amplified by a Canada Council grant that paved the way for their creative exploration. During their hiatus, each member embarked on solo projects that enriched their artistry, ultimately setting the stage for a compelling reunion. The episode delves into their individual growth and the seamless revival of their collaborative dynamic, sparking excitement for what's next in their musical journey.
In a relaxed and candid conversation, Nick and Larissa share insights into their current creative endeavors, highlighting a newfound joy in collaborating without the weight of grand expectations. While they remain tight-lipped about certain projects, they offer a glimpse into their quirky rehearsal sessions and past and potential future tours. There's intrigue surrounding an album created in Japan with the Tennis Coats, expected to release early next year. Tune in for an episode filled with mutual appreciation, laughter, and the organic, fun nature of their collaboration that promises to enthrall both longtime fans and new listeners alike.
back another episode of it, be your will. I'm following this trend of inviting um artists back on um, but now I've doubled up the pleasure. I have Piano Hero out of Vancouver, great indie band that's been around for a long time. I have Nick and Larissa here, two of the founding members, and today we're going to kind of explore exactly this 17-year break that they had and what's on the table for the future. So thanks so much. Listen, nick, for us on here. Thanks for having us.
Speaker 1:Yeah, this has been really fun. I've been so looking forward to it. Um, nick, we had such a great conversation in our previous podcast that, um you know, it was just so rich and genuine and authentic and just amazing.
Speaker 3:I love that too. It sticks out for me also. But you caught me at my most blissed out and relaxed compared to this morning, which I mean everything's fine, but it's just. Yeah, you caught me at a real unique time for me.
Speaker 1:No, it was in Serbia, Nick, am I right it?
Speaker 3:was in Croatia. Yeah, perfect.
Speaker 1:He was on a beach, still in beer in hand, with his clashing in the background, with his loving family all around him. So amazing.
Speaker 1:And Larissa, well welcome to, if it Be your Will. I've been really looking forward to talking with the two of you about the resurrection of piano. It was one of my favorites growing up, the records you guys put out, and then, lo and behold, here we this new one that that kind of popped out of almost nowhere. I've been kind of reading the literature and ba ba ba was like not on very many radars, and then it is, which is amazing because it's such a great selection of songs. Um, why don't we rewind time a little bit? And just like, how did piano get started? Larissa, I'll throw this to you first. Like what was the origins of you and Nick starting to collaborate together?
Speaker 4:Yeah, we met through my sister, actually Jessica. She and Nick had been hanging out, I think, as their last year of high school or something like that. I'd already graduated or I was a yeah, something like that, but I was on my way to college and Jessica and Nick were hanging out and at some point she was saying, like you know, I think you and Nick have more in common than he and I do. Like we were both rabid music fans and you know we were going to shows and wanting to do cool stuff. And then we just sort of started hanging out and almost immediately started playing music together and Nick would play piano and I would sing harmonies with him and we just started writing music out of that.
Speaker 3:And play the trumpet.
Speaker 4:Oh yeah, I played the trumpet, yep.
Speaker 3:And we kind of roped Jess into playing oboe a little bit too.
Speaker 1:Yeah, that didn't last very long, well it seems to that instrumentation kind of is the you know around, like it fluctuates from from from artist to artist, like you guys are playing so many different instruments so it allows for that beautiful variety yeah.
Speaker 4:There's a point where I played accordion a bunch, which I really enjoyed, and keyboards and stuff like that. Nick's nick goes back and forth between guitar and piano and ukulele this was like pre-youtube ukulele.
Speaker 3:It was still like a youtube commercial ukulele.
Speaker 1:I feel like it was still yeah. And Nick, what was it about Larissa? That kind of clicked with you and your vision of music and what you were doing and wanted to do.
Speaker 2:Hmm.
Speaker 3:I think at the time it was just like a new friend that was also interested in music and I didn't have tons of music-y friends at the time, really in high school. So it was just like kindred spirit vibes even though our tastes were kind of dissimilar. But there was enough in the middle of the Venn diagram.
Speaker 4:Sarah McLachlan.
Speaker 3:Sarah McLachlan. I mean, at the time I think we were kind of bashful about that yeah, even then at the time, yeah now we've both embraced it. But I mean I remember like I mean maybe still one of your most like beloved bands is pulp and like Brit pop and all that sort of stuff was a little bit too like theatrical and uh, I was, yeah, I was just far more just indie pills like dreamy indie, soft melancholy, just you know yeah, I was into like bjork and radiohead and stuff like that yeah, yeah, which I was familiar with to a degree too, obviously, but we just grew up at the same time.
Speaker 3:But yeah, like if we swapped mixtapes. I remember one you gave me that had like all these goth bands to like aliens, alien sex fiend, einstein's Annoying Button or whatever, and yeah, which I actually really, really liked, especially around that time silence is sexy came out and I really loved that one.
Speaker 3:That was great. So, yeah, there was just, I guess we had. I guess what I'm trying to get. It is like there was a unique, uh, passion for opposite ends of the spectrum, but then enough weird stuff in the middle that was kind of like rich territory, yeah, cool and plus, yeah, we just no one else was around really yeah, we didn't really know. Yeah, we just uh, yeah, suburbs late 90s um, and there was no plan I mean for fun yeah, and this is free social media phones like easy connecting.
Speaker 1:Like you, you must have had to work at or put effort into playing together at that time when you first started playing together. Amazing and I mean not to um sarah mclaughlin her first record. I mean amazing. I don't know what happened after that record, but that first record she put out was amazing.
Speaker 3:Yeah, I'm a touch head, but I also I'm a huge fumbling towards it. We're fumbling heads and, yeah, I listened to Solace all the time. Yeah, the first three for me personally.
Speaker 1:Right. So how did it start off? Like, were you both bringing songs into the mix and like co kind of producing one another? Like how did how did that start the collaboration between the songwriting process?
Speaker 4:I've never written songs for piano. Oh yeah, nick usually brings something to the table, and then we flush it out.
Speaker 3:Yeah, so I guess, compositionally, larissa always comes up with her own parts and the arrangements are collaborative. But yeah, I've always brought in at least some sort of skeleton of an entire finished thing. Yeah, that's just always been the way, because you didn't even really write songs at all until later.
Speaker 4:Yeah, that's basically why, to fast forward a tiny bit, why I left I was just like I need to figure this out on my own, but piano wasn't the place to do that and it still isn't for me.
Speaker 1:Right, right. And Nick, what did larissa bring to the songs that that fit with your songwriting? Like what? What? What aspects of her musicality influenced or infused into the songs that you?
Speaker 3:I at the time I was just so naive I didn't know what was going on and I was just kind of following instincts or whatever. So I didn't even it's only with years of remove that I've been able to like kind of be like oh wait, like I didn't even really know how to harmonize, for example, like I remember where. So like maybe we were in my parents' basement or something and you were like, see, if I sing this note, you sing that and you were just teaching me about thirds.
Speaker 3:But like I think I just unfairly regarded what Larissa did as being like witchcraft or something like, because I would sing a thing and then all of a sudden I would hear something that was instantly pleasing and like exactly what needed to be there and like exactly what needed to be there. But I didn't really have enough like awareness of what was happening at the time to really be like, oh, there's like compositional choices being made and like parts that were uh, supporting and rich, like making whatever. The um top line melodies were more rich, so I guess it was the main thing was just like the harmonies we were she was coming up with that complimented the songs I was making.
Speaker 2:Yeah.
Speaker 1:And what was it about Nick's songs that that sung to you?
Speaker 4:I liked that they, you know, referenced our small world and you know, referenced our small world and you know they weren't so much about like the bigger overarching things that pop music is usually about, which is something I've tried to take into my own songwriting later as well. I'm like, oh yeah, like not every song needs to be a love song or a breakup song or, you know I'm sad song or whatever. You know you can write about mundane things but blow them up in a way that, you know, lets you examine them in detail and you know, and it's kind of like literally stopping to smell the roses, you know.
Speaker 1:That's really cool, that's really cool.
Speaker 1:And it's very accurate, like, accurate, like. I mean I guess you've had this perspective for a long time, so it, but it totally rings true to me as well. Um, yeah, absolutely, absolutely, but like kind of like turning it into something of that needed to be looked at a little bit more Like slow down. What about this, lourita? What was it where you found piano shifted from becoming just something you guys did out of high school to wait a minute. We have something really special here, like, do you remember those early moments when piano started to kind of get some traction in the music industry?
Speaker 4:yeah, I remember, like you know, we were playing at the sugar refinery a lot on gravel street and, uh, you know we could fill the place and that was weird. I mean, we didn't have any context for that, so we didn't know if it was special or not, or that's just what happens when you have a band. But uh, um, yeah, people took notice kind of early on and, um, I I still think like I felt like I was too young then to appreciate it because, again, I had no context, I'd never played in a band before and, um, you know it, just it played out the way it did. But it's almost more like hindsight as well, where you look back and you're like, oh, that was special and that was cool, and that's not the way it always goes.
Speaker 3:No, I'm in the same boat as Larissa, like thinking about it now. We never had to try get a show. Someone would always invite us. We didn't have to try figure out how to record anything. Some like colin stewart, who recorded the first four records, like jumped out of an alley after a show and was like I want to record. He did it for free, you know what I mean. Like we were just like and we didn't really have a band and he assembled like local people. He knew that, yeah, I don't know. So like a lot of things just kind of were plopped on our lap and I we didn't have enough perspective and we're so naive that we just kind of like, oh, is this, this how you know you start a band?
Speaker 4:I don't know, it's crazy and people like believed in us enough to want to help in that way right, right, right I.
Speaker 1:I talked to a musician recently and he said his tipping point was when he didn't have to invite people to the show anymore yeah they would come um and he found that fascinating as well.
Speaker 1:And what you guys just mentioned, um, if you guys kind of look at your first part of piano, those you know, first few records, I read that the sound evolved with each of those records and we won't touch on Ba Ba Ba yet because we'll talk about that in a minute but those earlier records, how did you guys kind of develop the piano sound and then play around with it? You?
Speaker 4:want to take a shot at that or let's say yeah sure I think the music dictated how it sounded, if that makes sense.
Speaker 4:You know, like the songs sort of lent themselves either to being highly orchestrated or very minimal, you know it was, and a lot of the time I feel like we. They didn't change a lot. You know, from their inception right to the time that they were recorded, including with the new stuff, you know it was, it just was organic was to always kind of, to some degree or another, do the opposite of the thing that came before.
Speaker 3:So there was like some wild, wild swings as far as um approach. But the first album really was just kind of like songs that I was making up as a teenager, that in high school that we were working on together and made that album very kind of haphazardly with just like a rant like other local musicians or whatever, and I love how it turned out.
Speaker 3:I still really love that one. It feels like because we just had no idea what we were doing but we weirdly had some sort of confidence and belief in what we were doing to and I think, as music fans, we understood aesthetics, you know.
Speaker 3:So yeah, totally, it wasn't an accident yeah, so like maybe in some ways we were like quite sophisticated in some ways we were like quite just like well, so yeah. And then the second thing the den is like, I think my the reception to the first one and I mean it's like it's also embarrassing. But like all, all of a sudden like ambition and like ego and stuff kind of started like creeping into the picture way more than I wished it did. But I mean I was like 19, 20, 20 and we got. We got like a Canada Council grant at the time for recording and I think it was like maybe twelve thousand dollars or something. But to me as a teen that seemed like 500,000 or like that seemed like a huge budget that you should yeah totally yeah.
Speaker 3:But like I and so all of a sudden I was like, oh, so kind of compelled to like make something grandiose but it was also kind of based in these kind of feelings that that I had as a kid, like really being into musicals and show tunes and just like lush orchestration and the coziness of kind of like, well, yeah, all of that. So it it wasn't just trying to go big for the sake of it, like the, the yeah, the impulse was.
Speaker 4:But it was the means suddenly to make something like that yeah and yeah and that's.
Speaker 1:It's pretty big validation too at that age to, we had the means suddenly to make something like that. Yeah, it's pretty big validation too at that age to have money to create music. What an opportunity Totally. And I mean you guys totally seized on it and produced. I mean again, I mean I just I think all of your records are amazing, but they all kind of like children, you know. They're all very individual and you know loved equally throughout, so 17 years. Like Lursa, you had mentioned at the start of this that.
Speaker 1:I'm missing some of this, unfortunately sorry, can you hear all right now.
Speaker 3:I have.
Speaker 1:I'll try to keep listening. Still don't hear anything. But Lucy, you had mentioned that you kind of came to a realization. Ah, it could be these things.
Speaker 2:Okay, it's the headphones.
Speaker 3:Okay, I'm with you, I'm with you.
Speaker 2:Okay.
Speaker 1:Cool, okay, I'm with you. I'm with you, okay, cool, um, what so the, the impulse to kind of start doing your own thing after being in piano for a while, um kind of made the band kind of go off in in separate ways. What, what was that 17 years between this last one? Musically, what? What? What filled that gap between those years between the you know that album and then this one that just?
Speaker 4:yeah, I, uh, I recorded four solo albums under the name killerissa um that were all put out by mint records. That helped to put out some of the piano albums. That was, yeah, mainly an exploration of, like, lots of vocals and synthesizers and darker themes perhaps. And, yeah, and then I was in the choir practice, which was also a very vocals heavy group for a couple of years, and Fake Tears was a synth pop duo and uh, I I did a little bit of touring as sort of a backup singer and keyboard player. I played with destroyer and how to dress well and uh, so I sort of just explored a bunch of different alleyways, you know, um, and yeah, I'm still it's.
Speaker 4:I always say I'm a lifelong musician. You know, I'm like I'll just keep doing stuff, and it wasn't like I was searching for any one thing, you know, but it was just I felt like I had to close that piano chapter at the time in order to explore some other things. Um, just because I think as a young person, like I was always just associated with that band and with Nick and I was just like who am I musically when that's not there? And you know what might have been if that didn't happen, you know.
Speaker 1:It led to two years of great collaborations and self-discovery. And and also, how did it feel to be on the the end of the songwriter, of writing your own you know lyrics and accompaniment oh yeah, that I I knew I had that in me as well and uh.
Speaker 4:But I just also knew, like you know nick said we were different enough, like in our tastes and stuff that I I didn't feel right bringing that kind of stuff to piano, um, because it just wasn't the way we do it I don't even think we talked about it, it was just like so it wasn't like a choice, it was just kind of just like I don't know yeah.
Speaker 4:And like I didn't want to step on Nick's toes and yeah, I just I didn't, I didn't want to bring my choices, you know that way into the group because it was working the way it was.
Speaker 1:You know, choices you know that way into the group because it was working the way it was. You know, right, right, that's cool. And, nick, you went on to also, I mean, keep writing and writing and writing. One thing I've noticed that you guys love to collaborate. Like collaboration seems to be like very valuable in your musical journey, nick, can you talk a bit to that of of collaborating with other artists and why you find it almost a necessity to like find other musicians and and and I don't know like what, what's your, what's your idea on collaboration?
Speaker 3:I feel like it's just kind of I love the idea of just kind of staying open and just seeing what will happen. And so I don't think I've actually beat the bushes to look for collaborators, necessarily, but I just like the idea of, you know, just playing around like hopping in the pool with some I don't know the pool with some or I don't know it's yeah, it's just just to see what comes up, and it's fun to just be around. Energies that can, uh, yeah, just like kind of realize something in a way that might be unexpected if it was just up, you know, to you. And but also I like have made some certain projects completely by myself also, and there's a joy there too.
Speaker 1:So it's not, it's not a necessity, I just like it feels healthy to, you know, include other ideas and just see and just see how it goes do you find that collaborators also um allow you to kind of discover different hallways in your musical mansion?
Speaker 3:Yeah, for sure, because I feel anytime, even just working with different maybe engineers or producers or just any, I'm kind of spongy, like I pick up things. Every single project, yeah, and so it all gets thrown in the stew.
Speaker 1:So, larissa, 17 years go by. I mean Nick mentioned he kind of alluded to something with brewing when we spoke a year and a half ago or something like that not this past summer, but the summer before. How did it start? How did that 17 years come to a close? Not this past summer, but the summer before. How did it start? How did that 17 years come to a close? And then this blossoming of this new record that came out.
Speaker 4:We got the invitation to do this anniversary compilation there, so we decided to do a cover together. But yeah, before that, you know, nick and I'd hung out once or twice and had sort of talked about how it had been a 20 years since our first record came out and and how we might want to do something somehow to commemorate that. So the seeds have been planted a little bit, um, yeah. And then, once we started recording, we were like, oh yeah, we're all in a room together again and it's fun. This is with Justin and Julia, our also long-time collaborators and yeah, we just thought let's take this and run with it.
Speaker 1:And again, Nick brought the songs into the piano piano.
Speaker 4:Yeah, and he started one by one, uh, bringing new tracks to us okay, so it wasn't all like.
Speaker 1:Here's my how many songs are on this record no and song. It was kind of piecemeal yeah, but they came.
Speaker 4:They came very quickly and almost like I, very easily, and I like almost every time we got together for practice, there was a new song, you know yeah, or sometimes too which is kind of similar to like the way we were originally too.
Speaker 3:like I right, I back then I wrote a lot while I was, I worked lots of like shift work, like overnight and stuff, and I would work in my head and like right on the back of our time cards like lyrics, and I have stacks of new songs because I was just kind of spacing out and I kind of wrote most of this one in my head also. So I just I don't know how to explain it, but like I felt guided, guided, like these songs happened mainly because I just feel like we needed to play music together again. So like, yeah, it was something. Um, yeah, there was. Yeah, I'm still kind of like shocked that of the ease of which all the songs appeared and how much we all kind of I mean speak for like I enjoy them and like, yeah, they're just like and and how quickly it all came together too.
Speaker 4:Like we have a record now we started rehearsing, maybe a year and a half ago.
Speaker 1:Yeah, exactly Like. I just like wow, I thought it would be a single or something like that, a little teaser, but in song, full record. And, nick, were these written with piano in mind? Like these songs? You specifically wrote with that idea that these would become.
Speaker 3:Yeah, 200%. That idea that these would become yeah, 200 like yeah, and also because a lot of them, content wise also is kind of about us to varying degrees. You know what I mean. So so, yeah, there it is like it's abstract in some ways, but also, yeah, there's some like memoir qualities to this record.
Speaker 4:It's like nostalgic but also like current. You some like memoir qualities to this record. It's like nostalgic but also like current, you know.
Speaker 3:Yeah, and, and also, like I was thinking about, it a little bit as if what happened if we made an album after when it's dark and it's summer, before we got to grant and got a little. I got a little too like over, a bit Like what if we just kind of it was like a little bit revisionist history a little, yeah, parallel universe to be like oh what if we could kind of just yeah follow that track follow that track, that's cool.
Speaker 1:Yeah, and larissa, the songs that nick was bringing in. Was it enough? Like, did it bring back, flood back all those piano aesthetics and just playing together? Like, were the songs um different in a way, like just with that time and distance between when you first started recording and to this record?
Speaker 4:um songwriting shifts a bit it really felt the same and I, you know, I kept sort of musing to myself and to others about how, you know, we're all 17 years older but like we're all the same people still, you know, and that that dynamic was still there, the like, the good and the bad, you know, just like the weirdness of it all and uh. But I also, like I, I didn't struggle with coming up with parts and you know it, just, it was very comfortable to just fall back into that pattern of how um, nick and I play together and sing together. Um, and you know, it's like I think about like even the way I sing and I'm like I don't know if I've sung like this in 17 years. You know, I feel like I've been singing a bit differently, but like there's some this, like something shifts when I'm in this room with these people wow, that's amazing, yeah, and kind of like put like.
Speaker 1:I mean it only came out on the 17th of September, but if you put a little bit of distance in between, you know the whole production coming back together writing all these songs. How do you guys see this record now, Like in the piano catalog? Where does it fit in with the stuff that you guys did, you know, almost two decades prior?
Speaker 4:I feel like it's just this natural progression, you know it's uh, it was like you know it's. It's that same thing, with sort of the lifelong musician concept. It's just like it could have been two years. It could have been two years, it could have been 17 years. You know, I mean, it's maybe not the record we would have made then, you know, but it is what had to be.
Speaker 1:For sure, Nick. What do you think? What's? Your perspective now, after it's done.
Speaker 3:Yeah, there's like many, I have many thoughts about it, but in general because, like I was saying, I kind of envisioned it kind of as if we made it in 2003 or something instead of 2023, um, but it was fun. Like when you're a teenager, I feel like you're really still trying to figure out your identity and often that's through the things you like. So you're a teenager, I feel like you're really still trying to figure out your identity and often that's through the things you like. So you're expressing and kind of cosplaying, you know the thing presenting the things you like as being part of you, before you even really know who you are yet. And so early on we were, I feel like I was really trying to, you know, be Belle and Sebastian, be Lo, be Yolotang or whatever.
Speaker 3:And now this time it was almost more. It just like Over time, because I've had such a relationship with these influences and stuff. It's like actually part of me. So, whatever, even if it is kind of Belle and Sebastian or Yolotang, it's done with like it's not an archness, but it's like bell and sebastian or yul, it's done with, like it's not an archness, but it's like um, this is just for better, for worse, like who I am, because these are the things that I love, and so like there wasn't the ambition to be be them, it's just we are just yeah, yeah, it's like what?
Speaker 1:what a thing to come to as well, like an homage, you know a reverence yeah and it can only come over time and like by growing and living.
Speaker 3:So that's what's kind of cool about it to kind of like, uh, so overtly think about and work with things that you were so familiar with and inspired by as a young person, but doing it you synthesized as a you know, older.
Speaker 1:Amazing. Well, I I want to thank you two for for taking some time to come in. I mean just amazing reflections and stories, and it's been a real treat to kind of wrap things up, Larissa, what, what's on your docket now for the next year, music-wise? What could you share with us about what you might be working on or collaborating with?
Speaker 4:I don't know, I've been kind of leaving it open and I left Mint like two years ago, right before this piano reunion happened, and I didn't know that it was happening. I felt myself clearing my schedule and I didn't know that it was happening. You know, like I felt myself clearing my schedule and but I wasn't sure why. And then, you know, a couple of things filled the void in the meantime. But you know, I keep saying this piano reunion was not on my bingo card for 2023, but here it is and I'm just sort of embracing it and going with the flow and yeah, and then I've just been yeah, I don't know, I I can't really talk about current music projects. I've got like lots of little things on the go, but I, I think of it more like work, you know, and less about, like my expression as a musician at the moment. But um, it's still. You know, I like to have my fingers in a few pies for sure, for sure, good, good we like
Speaker 1:the pies totally clear and nick what, what, what in store for piano, like over the next little bit? Are there future plans or is it kind of an exclamation on, on, on your, you know, piano career? What, what can you share anyway?
Speaker 3:Yeah, I don't know I the only thing that springs to mind is, um, we have been rehearsing the whole time in this little field house that's, uh, in a park, and we only have access to that to the end of the year. So I and I love being in there. So I kind of want us to get together and like see I don't know, play around more, but also losing a practice space is compelling.
Speaker 3:There's an actual, like real, like rock and roll rehearsal space in the neighborhood nearby and and I was thinking conceptually if you have to pay a rental to go down this hallway where everyone's playing Metallica covers down the hallway or whatever, it'd be fun to come up with some real loud music and going into the studio Going into these practice spaces with Larissa and Justin, and.
Speaker 4:I'm sorry. I was just going to say one thing we have not done is like play old songs. So you know we have toyed with the idea of it but we haven't done it yet like remixing, re-envisioning old songs or you know, can we play them exactly how we recorded them?
Speaker 1:yeah, I don't know who knows all the above? Yeah, right on, yeah, right on.
Speaker 3:And then yeah, and then also I just uh, when I was in japan in april, joseph and our tour mates, the tennis coats, made an album. So that's coming out at some point early next year I think. But outside of that it's, I'm kind of in laris's boat too, just kind of saying, oh, we'll always be making stuff, I'm sure so yeah, we might do some touring or something like that, just tour slash vacations yeah and that's also kind of the thing that I feel is so like unique about doing all this with piano.
Speaker 3:Now, it's like we are, so I feel just like we're so chill about everything and we're not. No one's shooting for the stars. It's not even in our nature to shoot for the stars, let alone actually try to shoot for the stars. So it's like we are literally just doing this because it's fun. We are literally just doing this because it's fun.
Speaker 4:Well, we, we, we didn't want to talk to anyone about putting out the record or anything, so we just did it ourselves.
Speaker 1:Yeah, well it's a pleasant surprise. I just want to, like you said, more of a rocking like tune or that idea of what song off of this record do you find is closest to that dance-based rocking out song.
Speaker 4:May.
Speaker 1:I keep it in house.
Speaker 3:Yeah, yeah, it's kind of.
Speaker 1:You have that's number three.
Speaker 1:We'll put that one at the end. Perfect, you get this vision of the rocking out piano From Timber Pop to Hard Rock. Well, thanks so much, guys. Again, what a pleasure. I'm sure my listeners are going to love this conversation and I just wish you all the best. I love kind of keeping it kind of like mysterious as well, like who knows what's going to happen this conversation, and I just wish you all the best. I love kind of keeping it kind of like mysterious as well, like who knows what's going to happen yeah.
Speaker 1:Stay tuned.
Speaker 4:No, you don't have to.
Speaker 1:So definitely be reaching back out to you guys if there's more surprises coming down. Yeah, thanks so much. And it's really good to see you, Nick, and nice to meet you, Larissa.
Speaker 4:Likewise Thanks so much.
Speaker 3:Yeah, you're the best, Chris. Thank you so much. Thanks so much.
Speaker 2:Doing the things that I might have done so manlessly when I was young, watching the bottom fall out over and over, over and out. Now we are now at Upper Session Road, thank you. We are now at Upper Session Road. Me swapping memories in and out, revising histories, losing count, I did the hokey pokey, then turned myself around and drove into town. We are now at Upper Session Road. Childhood bedrooms Still fresh in my mind. The smell of your parents' house, faint in the air. Funny, what just goes nowhere. What goes nowhere. We are now at Upper Session Road. The, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the. We are now at Upper Session Road, thank you.
